JIMMY GARRISON

Remembering Jimmy Garrison

Jimmy Garrison (March 3, 1933 – April 7, 1976) was an American jazz double bassist best known for his long association with John Coltrane from 1961 – 1967.

Biography

He formally joined Coltrane's quartet in 1962 as a replacement for Reggie Workman and appears on many Coltrane recordings, including A Love Supreme. During live performances of music by John Coltrane's group, the leader would often provide Garrison with time and space for an unaccompanied improvised solo (sometimes as the prelude to a song before the other musicians joined in).

Garrison also had a long association with Ornette Coleman, first recording with him on Art of the Improvisers. He and drummer Elvin Jones have been credited with eliciting more forceful playing than usual from Coleman on the albums New York is Now and Love Call.

Outside of the Coltrane and Coleman ensembles, Jimmy Garrison performed with jazz artists such as Kenny Dorham, Philly Joe Jones, Curtis Fuller, Benny Golson, Lennie Tristano, Lee Konitz, Jackie McLean, Pharoah Sanders, and Tony Scott, among others. After Coltrane's death, Garrison worked with Hampton Hawes, Archie Shepp, and groups led by Elvin Jones.[1]

Family

Jimmy Garrison's son Matthew Garrison is also a bass player, playing mainly bass guitar. Matthew has recorded with Joe Zawinul, Chaka Khan, The Saturday Night Live Band, John McLaughlin, Joni Mitchell, Herbie Hancock, Steve Coleman and others. [2] Garrison's daughter MaiaClaire Garrison is a dancer and choreographer who worked as a child acrobat with Big Apple Circus in New York.

Source: http://nightlight.typepad.com/nightlight/2005/10/remembering_jim.html

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Biography by Chris Kelsey

Garrison is best known as bassist for one of the most important jazz groups, John Coltrane's classic quartet with drummer Elvin Jones and pianist McCoy Tyner. But Garrison had a full career backing other prominent saxophonists, including Pharoah Sanders, Archie Shepp, and Ornette Coleman. Garrison's work with Coleman is especially noteworthy; his earthy, hard-swinging approach contrasted greatly with the work of the saxophonist's other, more finesse-oriented bassists like David Izenson or Scott LaFaro. The Garrison/Elvin Jones rhythm section transformed Coleman on two very underrated albums made for Blue Note, New York Is Now and Love Call. Nowhere else on record does Coleman sound so consistently forceful and passionate. The lithe tunefulness that marks the saxophonist's earlier playing is augmented by a more pronounced physicality that pushes the blues aspect to the fore; this due in no small part to Garrison and Jones' focused intensity, which drives Coleman harder than he's ever been driven. Of course, it's with Coltrane that Garrison did his most enduring work. Although Garrison could be a compelling soloist when the occasion presented itself (witness his work on A Love Supreme), he didn't need the spotlight to be effective. His propulsive sense of time never failed, and his empathy with those playing around him was complete. 

Garrison grew up in Philadelphia, where he learned to play bass. Garrison came of age in the midst of a thriving Philadelphia jazz scene that included Tyner, fellow bassists Reggie Workman and Henry Grimes, and trumpeter Lee Morgan. Between 1957 and 1960, Garrison played and recorded with trumpeter Kenny Dorham; clarinetist Tony Scott; drummer Philly Joe Jones; and saxophonists Bill Barron, Lee Konitz, and Jackie McLean, among others. His first record with Coleman was Art of the Improvisers (Atlantic, 1959). In 1960, he made My Favorite Things (Atlantic) with Coltrane. He continued to play with Coleman and others -- Cal Massey, Walter Bishop, Jr., and Dorham, to name a few -- but by 1962 his job with Coltrane had essentially become full-time. Garrison remained with Coltrane until the saxophonist's death in July 1967. The Olatunji Concert: The Last Live Recording (Impulse!, 2001), a live recording made by Coltrane just a couple of months before his death, includes Garrison with Pharoah Sanders, Alice Coltrane, Rashied Ali, and Jumma Santos. After Coltrane, Garrison worked with Ornette Coleman once again, and played on record dates led by Sanders, Jones, Shepp, Sonny Rollins, and Alice Coltrane. Garrison also taught occasionally; William Parker, one of the most highly regarded bassists of the late '90s and early 2000s, was his student.

Source: http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:gzfixqt5ldde~T1

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Jimmy Garrison was one of the most advanced bassists of the 1960s, a perfect candidate to play with John Coltrane and Ornette Coleman. 

He grew up in Philadelphia and came to New York with Philly Joe Jones in 1958. He freelanced for a couple of years with the likes of Bill Evans, Benny Golson, Kenny Dorham and Lennie Tristano and then succeeded Charlie Haden in Ornette Coleman's Quartet (1961). However Garrison will always be associated with John Coltrane (1961-67), not only playing with the classic quartet (which included McCoy Tyner and Elvin Jones) but surviving the tumultuous changes and staying with 'Trane until the end. 

Garrison's solos (which were thoughtful and slow to build) were not to everyone's taste but his ability to play coherent and inspiring lines in the raging ensembles behind Coltrane and Pharoah Sanders was quite impressive. After Coltrane's death, Garrison played in groups led by Alice Coltrane, Archie Shepp and Elvin Jones before lung cancer cut shorthis life. 

Source: Scott Yanow, All Music Guide

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Biography by Richard Eskow 

genius, teacher, good man

John at Crooks and Liars just made my day, by linking to this CNN story - John Coltrane has two of this week's three top jazz albums, 38 years after he passed away. I took lessons from his bass player, Jimmy Garrison, many years ago. It was an honor and privilege I didn't fully grasp at the time.

At every stage in my life there have been musicians or songs that triggered a near-mystical response in me: the first one I remember is "Stranger on the Shore" by Mr. Acker Bilk (I must have been four, maybe?), then Buddy Holly and the Chiffons at around the same time, Otis Redding at 12 -- for a while in my teens Trane was the guy elected to send me into an altered state.  

When I started taking lessons from Jimmy I was the least schooled and proficient of his students, but he said he liked my attitude and "philosophy" toward music. (We would have very theoretical conversations ...) When I ran out of money, he offered to keep teaching me for free.  

I took him up on his offer for a while, but the fact is I didn't have the self-control to woodshed as much as would be appropriate and respectful to him as my teacher. I was seventeen years old and not at my best. I couldn't keep up with his lessons and pursue my bad habits, too. I was ashamed to tell him that, so I lied and said I couldn't make the bus fare to his apartment either. When he offered to give free lessons and pay my way, I just disappeared.  

When he died I regretted having ended our relationship on a falsehood. He was a beautiful cat - and unusually tolerant of the fact that I sang in a country/western band on weekends. I even wrote country songs in the three- and four-chord structure Jimmy considered imprisoning and unimaginative, but elitism was not his thing. Today I can admit to him - and to you - that I've never been very disciplined, and that chops aren't my strong suit on guitar either.  

Hanging out at Jimmy's apartment was a thrill all its own. You never knew which legend would stop by. A fellow student and I once went through the black book by his telephone while we were waiting for him, just to see the names of the greats ...

His family now maintains a website in his memory. I'm glad. "Genius" is an overused word, but he was one. He was also kind, sensitive, warm, and generous. I wish I could talk to him. I'm not greedy - one time would be enough. I'd like to say "thank you" once more, with feeling.  

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Garrison is best known as bassist for one of the most important jazz groups, John Coltrane's classic quartet with drummer Elvin Jones and pianist McCoy Tyner. But Garrison had a full career backing other prominent saxophonists, including Pharoah Sanders, Archie Shepp, and Ornette Coleman. Garrison's work with Coleman is especially noteworthy; his earthy, hard-swinging approach contrasted greatly with the work of the saxophonist's other, more finesse-oriented bassists like David Izenson or Scott LaFaro. The Garrison/Elvin Jones rhythm section transformed Coleman on two very underrated albums made for Blue Note, New York Is Now and Love Call. Garrison grew up in Philadelphia, where he learned to play bass. Garrison came of age in the midst of a thriving Philadelphia jazz scene that included Tyner, fellow bassists Reggie Workman and Henry Grimes, and trumpeter Lee Morgan. Between 1957 and 1960, Garrison played and recorded with trumpeter Kenny Dorham; clarinetist Tony Scott; drummer Philly Joe Jones; and saxophonists Bill Barron, Lee Konitz, and Jackie McLean, among others. His first record with Coleman was Art of the Improvisers (Atlantic, 1959). In 1960, he made My Favorite Things (Atlantic) with Coltrane. He continued to play with Coleman and others -- Cal Massey, Walter Bishop Jr., and Dorham, but by 1962 his job with Coltrane had become full-time. Garrison remained with Coltrane until the saxophonist's death in July 1967. Garrison worked with Ornette Coleman once again, and played on record dates led by Sanders, Jones, Shepp, Sonny Rollins, and Alice Coltrane.

Source: http://www.jayhungerford.com/bassplayers-garrison.html

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Bassist Jimmy Garrison was the anchor in the classic John Coltrane Quartet, from 1961-'66, which recorded all of its well-known albums on Impulse. Garrison's big, blunt sound, steady time and inventive counter lines were an elemental ingredient in the sound of that famous group. He actually fitted into the group with great insight, supplying a traditional role on the more straight ahead material and exploratory counter melodies and responses as the music grew more progressive.

Garrison was born on March 3, 1934, in Miami, but grew up in Philadelphia, where he first played briefly with Coltrane and McCoy Tyner, in 1957. Garrison moved to New York the following year, where he worked with Curtis Fuller, Philly Joe Jones, Benny Golson, Bill Evans, Kenny Dorham and Lennie Tristano.

Garrison’s early work with Ornette Coleman earned him respect and recognition in the New York jazz circle, and his joint effort with Elvin Jones in that period is thought to be some of Coleman’s best outings.

His first record with Coleman was “Art of the Improvisers,” (Atlantic, 1959). In 1960, he made “My Favorite Things” (Atlantic) with Coltrane. He continued to play with Coleman and others, but by 1962 his job with Coltrane had essentially become full-time. Garrison remained with Coltrane until the saxophonist's death in July 1967. “The Olatunji Concert: The Last Live Recording” (Impulse!, 2001), a live recording made by Coltrane just a couple of months before his death, includes Garrison with Pharoah Sanders, Alice Coltrane, Rashied Ali, and Jumma Santos. After Coltrane, Garrison worked with Ornette Coleman once again, and played on record dates led by Sanders, Jones, Shepp, Sonny Rollins, and Alice Coltrane. He was featured on quite an extensive number of sessions as bassist. He also taught at Bennington and Wesleyan colleges

Jimmy Garrison died on April 7, 1976, in New York.

Source: http://www.allaboutjazz.com/php/musician.php?id=6964

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Discography

As leader

1963: Illumination! (Impulse! Records) - co-leader with Elvin Jones

As sideman

Jazz Contrasts (Kenny Dorham , 1957)
Blues For Dracula (Philly Joe Jones, 1958)
Swing, Swang, Swinging (Jackie McLean, 1959)
Live at the Half Note (Lee Konitz, 1959)
Images of Curtis Fuller (Curtis Fuller, 1960)
Ballads (John Coltrane, 1962)
Coltrane (John Coltrane, 1962)
Duke Ellington & John Coltrane (John Coltrane, 1962)
John Coltrane and Johnny Hartman ((John Coltrane, 1962)
Live at birdland (John Coltrane, 1963)
Crescent (John Coltrane, 1964)
A Love Supreme (John Coltrane, 1964)
Ascension (John Coltrane, 1965)
First Meditations (John Coltrane, 1965)
The John Coltrane Quartet Plays (John Coltrane, 1965)
Kulu Sé Mama (John Coltrane, 1965)
Live at the Half Note: One Up, One Down (John Coltrane, 1965)
Live in Seattle (John Coltrane, 1965)
The Major Works of John Coltrane (John Coltrane, 1965)
Meditations (John Coltrane, 1965)
Transition (John Coltrane, 1965)
Sun Ship (John Coltrane, 1965)
Live in Japan (4 discs) (John Coltrane, 1966)
Live at the Village Vanguard Again! (John Coltrane, 1966)
Expression (John Coltrane, 1967)
The Olatunji Concert: The Last Live Recording (John Coltrane, 1967)
East Broadway Run Down (Sonny Rollins,1966)